
BOOK NUMBER ONE 



PRICF 



BASKET MAKING 



BEING THE FIRST BOOK OF THE 



HOW TO DO IT 



SERIES 



BY 



T. VERNETTE MORSE 

Illustrated with One hundred and Six 
Cdorking Designs. 

CHICAGO. 

ART CRAFT INSTITUTE, 
1902. 



CX>j'>^*-i r- 



THE LIBRARY OF 
CONGRESS, 

Two CoPiEs Received 

NOV. 1? 1902 

COPVBIQHT ENTRY 

CLASS <iJ)OCc No. 
COPY A. 






Copyright 1902 
by the 
ART CRAFT INSTITUTE 
All rights reserved. 




pRefHce. 

A demand for lessons in basket weaving by mail, 
has led to the publishing of "Basket Making," 
which is the first of the "How To Do It" series of 
handbooks that is about to be published by the 
printing department of the Art Craft Institute. 

These books will all be of uniform size and style, 
and will cover such subjects as Drawing, Designing, 
Phoenician Wood Carving and Pyrography, Metal 
work. Needle work and other arts that are taught 
in the Institute. 

Each edition will be fully illustrated, and as 
concise as consistent with the nature of the subject. 
It is expected that these books will, to a certain ex- 
tent, take the place of the correspondence course, 
although work will still be received for criticism, as 
it is quite impossible to meet every requirement of 
the students in any one book, or in fact any num- 
ber of books. 

The work is condensed to cover as large a field 
as possible, and the only excuse for its being, is, 
that it may assist those who are now struggling with 
the intricacies of basket making. 



T. Vernette Morse. 



Art Craft Institute. 
26 Van Buren St. 
Chicago 111. 



«^ 



coNce^cs. 

Page. 

Group of Raffia Baskets. Illustration Frontispiece 
Basket Makim. Part One. ----- / 

o 

Description of PV or king Designs. Part two. - 6 

Description of Raffia Designs. Part three. - i6 

Description of Half-Tone Illsustrations. Part four. 2^ 
Group of Raffia Baskets. Illustration., - - 2g 

Group of Baskets. Illustration. - - - - j>o 

Note. ----------- J/ 



^ 



BASKET MAKING. 

"We learn things hy doing them. 



PART ONE. 



Some fifty years ago basket making was consid- 
ered a fairly paying occupation throughout the New 
England states, and it was not uncommon for basket 
weavers to travel through the country, making and 
selling their wares, often stopping for several days 
at farm houses, to make special baskets and bottom 
chairs. After the advent of machine made baskets 
the "basket man" became a thing of the past, and 
his handicraft forgotten. 

During the past few years, the importan-ce of 
teaching children how to apply their knowledge 
to practical things has renewed the industry and 
basket weaving has returned to us as an im- 
portant factor in the promotion of education and 
industry. 



2 , BASKET MAKING. 

MATERIALS. 

The materials can be obtained at any reliable 
seed store or basket factor}^ They consist of 
reed, numbered from i to 8, according to the 
size. Number i is the smallest, about the size of 
a large knitting needle. Number 8 the largest 
size. For small baskets numbers 2, 3, and 5 are 
mostly used, but for large work the other numbers 
are preferable. The split and flat reed is more 
pliable than the round and more easily managed. 

The flat and braided rush makes very strong 
baskets, and combines readily with the reed. 

The flat splints, which are much used by the 
Indians, are most desirable in making very light 
baskets. 

Raffia is a long palm grass imported from 
Madagascar. It is almost the color and texture ot 
corn husks, except that it is more pliable when wet. 
It is easily handled, and lends itself to a great 
variety of weaves. Other material such as wood 
ribbon, both white and colored, sweet grass, 
corn husks, common cat tail leaves, or wheat 
straw, may be used with very fair results if desired. 
We will devote this chapter to the weaving of reed 
baskets only. 

TOOLS. 

No tools are required except a pair of medium 
sized shears, a sharp knife, a paper of No. 1 9 
needles, a yard stick and a large knitting needle. 




^'r?^^^^ 




4 ■ BASKET MAKING 

TERMS. 

The ribs or upright pieces in a baslcet are called 
the Spokes, and should be from one to two 
sizes larger than the filler. The filler is wound in 
and out between these spokes and is known as the 
Weaver. When one weaver is used, it is known as 
Under and Over weaving (see Fig. 4). When 
two weavers are used in under and over weaving 
as in Fig. 6 it is known as Double weaving. 
When two weavers are used as in Fig. \i it is 
Pairing. When three weavers are used as in Fig. 
7 it is known as the Triple T'wist. 

AMOUNT OF MATERIAL. 

The average amount of material required for a 
reed basket, may be estimated by measuring across 
the bottom of the basket and its height. The 
spokes should be long enough to extend up both 
sides of the basket and across the bottom. If the 
basket is small, the bottom should be commenced 
as in Fig. i; if the basket is large, it should have 
more spokes (see Fig. 3). If the bottom of the bas- 
ket is four inches in diameter and four inches high, 
it will require six spokes twelve inches long and one 
spoke 7 inches long. For weavers it will require 9 
or 10 times as much material as for the spokes. The 
spokes should be at least one size larger than the 
weavers. 

First prepare the reed by allowing it to soak for 
twenty minutes in hot water. If it is necessary to 
use cold water let the reed remain in it for an hour 
or more; or until it becomes soft and pliable. 



BASKEr MAKING. 5 

For a basket 5 inches in diameter and 5 inches 
deep, cut 6 pieces of No. 4 reed 19 inches long 
and I piece 10 inches long; cross the pieces and 
bind them together as in Fig. i, add the extra spoke 
by forcing it between the crossed center just where 
the end of the weaver starts. (The weaver should 
be of No. 3 reed.) Now weave in and out until the 
bottom is five inches across. Put the basket in wa- 
ter and let it soak a few minutes, press it well between 
the hands until it lies smooth and flat, turn the 
spokes up gently and commence to weave the sides 
(see Fig. 4). When the sides are five inches 
deep turn the spokes in at the top and let 
them slide in by the side of the spokes as 
in Fig. II or 5. For this basket two weavers 
may be used for the sides as in Fig. 6. The top 
may be finished as in Fig. 7 or 8. Fig. 9 illus- 
trates how to spHce the weaver. Fig. 10 is a 
knot which may be used as a handle, by slipping 
the ends down by the side of the spokes as in Fig 5, 
and fastening them securely by slipping them in be- 
tween the weavers, on the same principle as the 
splicing in Fig. 9. Use a knitting needle to press 
the weavers apart. 

Variety may be given to this style of basket by 
using two weavers as in Fig. 12. The advantage 
of using two weavers is, that it only requires an even 
number of spokes; commencing the basket as in 
Fig. I and dividing the spokes evenly. 

Care should be taken in all basket weaving to 
divide the spokes evenly, and to be sure that the 
bottom lies flat, for therein lies much of the sym- 
metry of the finished article. 



DESCRIPTION of WORKING DESIGNS 

"The higher the ideal^ the more beautiful the work. 



PART TWO 



The working dcvsigns which are used to ill- 
ustrate this book were made directly from the bask- 
ets as they were woven in the classes at the Art 
Craft Institute. 

Each step is explained as thoroughly as possible, 
and by carefully following the directions almost any 
one can learn to make a basket. 

Fig. I shows the placing of the spokes and 
the fastening of the weaver. Draw the weaver up 
close and snug, so the spokes will be firmly fixed 
in place. 

Fig. 1 is the same as fig. i except that it il- 
lustrates how to insert the extra spoke and the man- 
ner in which the single weaver should be used. 



S ' BASKET MAKING, 

Fig. 3 is for a large basket, having twelve spokes 
instead of six. The spokes are bound together 
with a piece of raffia before the weaving is com- 
menced. The raffia is wound around the spokes 
on the right, crossed over the six spokes underneath 
and wound around the same spoke on the left; add 
another spoke, fasten it at the left side first, by 
passing the raffia underneath as before and wrap- 
ping it around the same spoke on the right side; re- 
peat this until all of the spokes are securely fasten- 
ed in place. When the twelfth spoke is firmly 
secured, and the extra spoke in place, (see upper, 
right hand corner of illustration), fasten the weaver 
and commence the over and under weave. When the 
bottom is of the required size, wet thoroughly, press 
between the hands as already described, and turn the 
spokes up gently over the finger. If the sides of 
the basket are to be perpendicular, the spokes should 
be made to stand up straight by holding the weaver 
very firm. If the sides of the basket are to flare, 
allow the spokes to remain in that position and use 
the weaver accordingly. 

Fig. 4 illustrates the over and under weave as 
it appears in the sides of a basket. 

Fig. 5, 8, and 11 illustrate the different man- 
ner in which the spokes may be interwoven at the 
top of the basket to form borders. 

Fig, 6 is the over and under weave the 
same as in fig. 4, except that two reeds are used 
in place of one. 



r.^jt 




10 ' BASKET MAKING. 

Fig. 7 illustrates the manner of weaving the 
twist, when three weavers are used. This style of 
weave is useful to finish the top of a basket, and is 
frequently used at the bottom of large baskets when 
extra strength is required. 

Fig. 9 shows manner of splicing the weavers. 

Fig, io is a knot that may be used for a hand- 
le or to lift up the top of a basket. It should be 
fastened to basket, by inserting the ends of the reed 
between the spokes and pressing them outward to 
follow the line of the weaver. 

Fig. 12 illustrates pairing, by the use of two 
weavers. This weave is extremely satisfactory 
when it is desirable to entirely cover the spokes. 

Fig. 13 is an arrangement of red splints for 
the bottom of a round basket, woven together 
with raffia of the same color. The pairing weave is 
used. Turn the spokes at the dotted line, and weave 
the sides in the same manner. Sweet grass or rush 
may be used in place of the raffia it preferred. 

Fig. 14 is an arrangement of reed for the bot- 
tom of around basket. The size of the basket will 
determine the number of times the spokes are to be 
divided. When the spokes have been divided until 
but one is left, another or even two may be added. 
The beauty of the basket is greatly enhanced by us- 
ing three spokes, with the over and under weave for 
the sides. The edge of this basket may be fin- 
ished in any desired style. 

Fig. 15 is a center for a round basket formed by 
trimming the spokes until they are very narrow where 



BASKET MAKING. 



II 



they cross in the middle. The side spokes should 
be all ot one width. Any style of weave may be 
used for this basket. 

Fig. 1 6 is a braid made by grouping four reeds 
in three different strands and braiding them together. 
It may be used for a handle, or for any other pur- 
pose that suggests itself. 

Fig. 17 is a twist made by weaving three reeds 
into the edge of the basket at the top, by placing 
the weavers behind three consecutive spokes. Pass 
the first weaver over two spokes and under the top 
weavers, then the second and third in the same man- 
ner; repeat this process until the edge is fin- 
ished. 

Fig. 18, 19,20,21,22, and 23 are illustrations 
of knots, braids, and weaves, suitable for handles 
and other accessories. 

Fig. 24 is made of two reeds twisted together, 
when thoroughly soaked, and attached to the bask- 
et as illustrated for side handles. 

Fig. 25 is made by twisting four reeds together 
and separating them into two parts, just above the 
place where they are joined to the basket. Join 
to basket as shown in illustration. 

Fig. 26 illustrates a plain weave of splints, or 
reed, for the bottom of a square basket. The 
spokes are to be turned up at the dotted lines for 
the sides. The sides are woven in the over and 
under weave. This bottom is the one used in all 
the splint baskets, and will not be referred to 
again. 



12 BASKET MAKING. 

Fig. 27 is an attractive side pattern made by 
passing the weaver over two spokes and under one. 

Fig. 28 is a plain bottom, but ever}' other 
spoke is spHt down to the point where the sides 
turn, for the purpose of forming a fancy side weave. 

Fig. 29 is a side pattern, made by using split 
reed or splint as illustrated in Fig. 28. Both wide 
and narrow weavers are used for this design. 

Fig. 30 is an attractive side weave made by us- 
ing braids of colored raffia for weavers in place of 
the splints. An entire basket may be made by us- 
ing the braids for weavers. 

Fig. 31 illustrates the manner in which the 
edge of a basket should be finished, and the method 
of inserting the handle. Turn the spokes over at 
the top (after the last weaver has been put in place) 
in opposite directions. Insert the handle as shown 
in design. Take two weavers that will reach around 
the top of the basket; place one inside, and the other 
so as to hold the bent spokes firmly in place; with 
a narrow splint or small reed bind these together. 

Fig. 32 has a bottom same as in fig 26. Side 
weavers are of narrow splints. The decorative de- 
sign at the top and bottom is made by using an ex- 
tra weaver of another color, passing it under i , giving 
two turns to the right, passing it beneath 2, again 
turning it twice to the right and passing it beneath 
3, two turns to the right and pass beneath 4, re- 
peat this around the entire basket, and it will form 
a row of diagonal, raised squares which are decidedly 
ornamental. The top is finished same as fig. 3 i. 



. nn 




14 BASKET MAKING, 

Fig. 23 ^^ ^ plain splint basket strengthened 
at the top, bottom, and near the bottom, by placing 
a split reed over the weaver after it is in place, and 
binding them both together with a narrow splint. 

Fig. 34, i^c^, 1^6, 37 and 38 illustrate the variety 
that may be given to the sides of a basket by the 
use of different colored weavers. 

Fig. 39 is the ordinary lattice weave, made by 
crossing the spokes in diamond shape. 

Fig. 40 and 41 is an effect made by winding 
the weaver with colored raffia before it is used. In 
the illustration given, blue splint was used for the 
bottom of the basket and the spokes. The weaver 
was of red splint wound with the natural colored 
raffia (see fig. 40). While this combination of col- 
or is most effective, any other harmomous color 
scheme will answer the purpose as well. 

Fig. 42, 43 and 44 illustrate three methods of 
grouping the spokes, by placing the weavers some 
distance apart, on the inside of the spokes, then 
binding the whole together with a reed of another 
color as shown in the illustration. 

These designs are especially appropriate made of 
large reed for waste paper and other strong open 
work baskets. 



* 




Fig.3(= 



DESCRIPTION OF RAFFIA DESIGNS. 

"yfr/ is the mother of all creative forms." 



PART THREE. 



Commencing with the next illustration v/e give a 
series of examples in which the raffia, both white and 
colored plays a most important prrt. 

This strong flexible fiber, has no equal as an all 
around material for baskets. It is so easily manag- 
ed that the merest child can form it into something 
beautiful, while there is really no limit to its possi- 
bilites in the hands of an experienced artist. 

Fig. 45, 46 and 47 illustrate the very first step 
in the making of raffia baskets. First wet the raffia. 
Thread one strand in a number 19 tapestry needle. 
Take several strands of the raffia (the number will 
depend on the size of the coil you wish to make.) 
Thirty strands will make a very large coil, vvhile in 
the very fine baskets but three or four are used. 
Commence at the end of the coil of raffia as in Fig. 
45, and wind it with the strand of raffia that is 



BASKET MAKING. if 

threaded in the needle, turn as in fig. 46 and insert 
the needle through the stitches that were made in 
Fig. 45, bring the needle up through the stitch, 
wrap the raffia around the coil once and pass the 
needle through the next stitch, continue this until 
you have worked twice times around the center, 
then any desired stitch may be used. Widen the 
center so it will lie flat, by increasing the number of 
stitches whenever necessary. 

In all raffia baskets reed may be used in place of 
raffia for the coil. 

Fig. 48 is for the center of an oblong basket. 

Fig. 49 is another method of starting the center. 
This weave is also suitable for handles as by its 
means, several reeds may be woven together. 

Fig. 50 and 51 illustrate the manner of making 
the ordinary raffia center. Thread one strand of the 
raffia in the needle, wind it around the coil to hold 
the loose strands of raffia in place, pass it under the 
preceding coil, out on the right side, thence over 
both coils, and again over the coil of loose raffia. 
Repeat this until the bottom of the basket is of the 
desired size. Allow every stitch to pass over two 
coils, making a bridge that holds the coils together. 
To widen the circle so it will lie flat, put two stitch- 
es in place of one as before mentioned. 

Fig. 52 is the same as the preceding except that 
the long stitches, or bridges, are inserted directly 
through the center of the coil each time, instead of 
passing entirely over it. 

When two colors are used, the strand that is not 
in use is allowed to become part of the coil and is 



i8 BASKET MAKING. 

thus covered by the stitches, as the coil becomes 
smaller add more raffia, so that it shall be of uni- 
form size throughout the basket. 

Fig. 53 is known as the rice stitch. In this instance 
the working strand of raffia is wound around the 
coil but once, bringing it through the stitch just be- 
low from the back side. 

Fig. 54 is the buttom hole stitch made by pass- 
ing the raffia over the reed or coil, putting it 
through the stitch beneath, bringing it up on the 
under side, and passing it through its own thread, 
thus forming a loop at the top in which to insert 
the next stitch. 

Fig. 55 is an open work design made the same as 
the button hole except that the needle is passed 
through and around each loop three times, leaving 
an open space. 

Fig. c^6 the knot stitch is made exactly like the 
one in Fig. 50 except that the bridge is crossed by 
the raffia in the center, as shown in the illustration. 

Fig. 57 is the same as the bridges used in Fig. 50 
every other stitch passing over two reeds or coils. 
In this basket a reed should be used for the coil. 

Fig. 58, 59, 61 and 61^ are coiled in buttonhole 
stitch over number 8 reed. The designs are work- 
ed out by using two or even three colors, accord- 
ing taste. 

Fig. 60 is coiled over raffia and woven with five 
colors. The black squares as illustrated are made 
of black raffia; the crossed square in the diamond is of 



1 



I 




^^^w 



20 - BASKET MAKING. 

orange raffia; the white squares are of green; the 
square having a Hne through the center is of the 
natural color. Any other harmonious combination of 
color may be used in place of those given. 

Fig. 6 1 has spokes of reed, with weavers of split 
reed placed back of them in groups and the whole 
bound together with colored raffia. 

EiG. 64 is the same as the foregoing except that 
the spokes are placed close together, and the weav- 
ers oneinch apart. 

Fig. 6c^, 66 and 67 shows three side weaves in 
different stitches. Raffia is used for the weaver in 
the pairing weave. The weavers are pressed close 
together entirely covering the spokes both inside 
and out. A great variety may be given to these 
baskets by the use of colored raffia. 

Fig. 68 is the same as the foregoing except that the 
raffia is twisted twice between each spoke, and the 
weavers are placed one half inch apart, forming a 
pretty open work design which is very effective 
when lined with colored silk. 

Fig. 69 is best made over a form, and is generally 
used for covering bottles, etc. The weavers are of 
coiled raffia held together by a lattice work of raffia. 

Fig. 70 may be woven in two ways, either the 
raffia or the reed being used for the weaver. The 
group of reed used in this basket is no. i woven 
together with one strand of raffia, 

Fig. 71 has spokes of no. 8 reed, it differs from 
the others of similar weave, as the weaver in this 
instance is placed outside of the spokes, and the 
two are then bound together with raffia. 




iiriiiui II iiiiiun 111 



lU 



xmimx 



'■Pllllllilillil/lflMi lltllillllllill ■ 



F.p. (>3. 




22 BASKET MAKING. 

Fig. 72. is a design taken from an old Indian oas- 
ketin which two stitches were combined. The de- 
sign as given here, is worked in the same manner as 
Fig. Ci2-> ^^"^ black, on a ground of red. 

Fig. 73 is another design taken from a modern 
Indian basket. It is worked out in the same stitch 
at the preceding. 

Fig. 74, and 76 are coiled baskets made in rice 
stitch, (see Fig. c^i^) The design is made by using 
the bridge stitch as shown in the illustration. 

Fig. 75 is of reed wound with the raffia held in 
position by the bridge stitch arranged as in the 
illustration. 

Fig. 77 and 78 are braids made of raffia, the 
first is useful for a great variety of purposes, while 
the second is most desirable for handles. 

Fig. 79 is a mat made of braid as in Fig. 77 
sewed together with a strand of raffia. 

Fig. 80 is the side of a basket made of 
braids sewed together. 

Fig. 82 is an illustration of the manner in which 
a wide braid of the raffia may be made. These 
braids may be sewn together for porch pillows or 
covers for chairs. They are most effective when 
several colors are used. 



DESCRIPTION of HALF-TONE 
ILLUSTRATIONS. 

PART FOUR. 

"// is not what yo?^ do, but how you do it, that counts" 

PLATE I. 

This group of baskets is deftly handled and well 
designed. 

Fig. I has a dark base and top, while the center 
is of natural colored raffia in which a colored design 
is effectively introduced. 

Fig. 2, 4, 5, 9 and 10 are of raffia, woven over 
reed. 

Fig. 3 is of raffia woven over reed, the design be- 
ing especially attractive. 

Fig. 6 and 8 are large, somewhat flat baskets, of 
coiled raffia, perfectly designed. 

Fig. 7 is a woven cover for a bottle made of 
coiled raffia joined with the bridge stitch. 

Fig. 10, 1 1 and 12 are similar in style and weave 
to the foregoing. 

Fig. 16 shows a long distance between the bridge 
stitches which hold the coils together. The design 
is wrought out entirely by winding the coil between 
the bridges with different colors. 

Fig 13 and 14 have stripes formed by winding the 
coil of raffia with one color and using for the bridges 
raffia of a contrasting color. 




(J ill I (i 'I irl 




26 BASKET MAKING. 

PLATE II. 

Fig. I is a basket of raffia coiled in two colors. 
The edge is made by looping the coil a trifle between 
the bridges. 

Fig. 1 is a reed basket having rounded sides; the 
bottom and opening at the top being of equal size. 
The cover is made separate, somewhat rounded and 
fastened to the basket with a raffia hinge. 

Fig. 3 is a coiled raffia basket, made in dark 
colors ornamented with a diamond pattern. 

Fig. 4 is a basket of raffia exceedingly graceful 
in form, and artistic in design. The cover is made 
to fit tightly over the top. 

Fig. 5 is a photograph frame made of raffia 
over cardboard. 

Fig. 6 is a basket of raffia made in the usual 
bridge stitch, having a design in two colors and 
handles at the side. 

Fig. 7 is made over number 3 reed in knot 
stitch. 

Fig. 8 has bottom and spokes of pink splints, 
woven together in the pairing weave, with small 
braids of sweet grass: The legs are made separate, 
in the same manner as the body of the basket and 
fastened to it after it is finished. 

Fig. 9 is a handkerchief pocket made by using 
heavy linen thread for the spokes and raffia for 
the pairing weave. Handle of braided raffia. 

Fig. i i is a covered basket made of coiled raffia 
with half round cover. 

Fig. 12 is of coiled raffia in bridge stitch. 



28 BASKET MAKING. 

PLATE III 

This group shows a variety of styles as there 
are no two baskets aUke. 

Fig. I - Basket of raffia, made in button hole 
stitch over number 3 reed, handle of reeds woven 
together same as in Fig. 13. 

Fig. 1 - Basket of raffia drawn tightly over a 
frame made of number 8 reed. 

Fig. 3 - Basket of raffia made in bridge stitch 
over number 8 reed. Hoop handles of reed wound 
witn raffia. 

Fig. 4 - Candy basket made of reed and raffia 
with fancy top of colored raffia. 

Fig. 5 is a basket of raffia having a design form- 
ed by using a colored coil held together with 
bridges of a contrasting color, 

Fig. 6 is a combination of the knot stitch and 
coiled raffia. 

Fig. 7 IS woven with number 3 reed in double 
weave. 

Fig. 8 has spokes of splint with braids of raf- 
fia for weavers. 

Fig. 9 is an exceedingly fine basket made wholly 
of raffia in button hole stitch. 

Fig. 10 is another very fine basket which can- 
not be photographed to any advantaget as it is made 
of raffia in rice stitch. 

Fig. II is of fine raftia in the usual bridge stitch. 




s 









NOTE. 

Although the material for baskets may be ob- 
tained in a great variety of colors, it is sometimes 
desirable to stain some part, or the whole, of a bask- 
et after it is finished. For this purpose the Art Craft 
Institute uses a line of specially prepared dyes, and 
will send the complete list to any address on appli- 
cation. 



NOV 17 1902 



NOV. 18 1902 



tJAH 3 



1903 



